Podcasts about Kindertotenlieder

Brecht van Hulten in gesprek met sopraan Francis van Broekhuizen. Opium komt vanaf vandaag de hele week live uit het Concertgebouw in Amsterdam vanwege het Mahler Festival 2025. Vanavond is te gast sopraan Francis van Broekhuizen. Francis is naast fan van Maria Callas ook een liefhebber van het werk van Gustav Mahler. Zij heeft Mahler ook zelf op haar repertoire staan, zoals de Rückert-Lieder en de Kindertotenlieder. Die zingt ze samen met haar vaste pianiste Femke de Graaf. Francis van Broekhuizen is een veelgevraagde zangeres. Ze zong diverse rollen bij Opera Spanga, Opera Zuid, Opera Trionfo en de Nationale Opera. Op TV was ze te zien als deelnemer van De Slimste Mens en De Verraders. In het theater staat Francis van Broekhuizen momenteel met Dominic Seldes in de voorstelling The Francis and Dominic Show.

Stéphane Degout Orchestre de Paris Conductor: Jukka-Peka Saraste Paris Philharmonie 4 March 2020 Broadcast

durée : 00:16:10 - Disques de légende du mardi 04 février 2025 - En 1967 sortait chez Emi un disque consacré aux oeuvres vocales de Mahler, chantées par Janet Baker, et sous la direction de Sir John Barbirolli. Parmi elles, ces sublimes Kindertotenlieder.

durée : 00:16:10 - Disques de légende du mardi 04 février 2025 - En 1967 sortait chez Emi un disque consacré aux oeuvres vocales de Mahler, chantées par Janet Baker, et sous la direction de Sir John Barbirolli. Parmi elles, ces sublimes Kindertotenlieder.

Iain Burnside chooses his favourite recording of Mahler's Kindertotenlieder.

Iain Burnside chooses his favourite recording of Mahler's Kindertotenlieder.

This month's series of Listeners' Favorites continues with the baritone Heinrich Rehkemper (1894-1949), presented to you today by my dear friend, the esteemed conductor Gavin Carr, who is the very person that first introduced him to me many years ago now. Rehkemper is one of a number of exceptional German baritones of that era who represent a very different kind of singing than we are accustomed to today: full-throated voices with an even scale from top to bottom managed with no technical gimmickry or phoniness. Rehkemper brought these traits to whatever music he was singing, whether opera, oratorio, or Lied. He left a small but important cache of discs, including many Lieder recordings, particularly of Franz Schubert. He also made the first complete recording in 1928 of Gustav Mahler's Kindertotenlieder under the baton of none other than the great Mahler conductor Jascha Horenstein. I place Rehkemper in the context of the other significant German baritones of his era, Heinrich Schlusnus, Willi Domgraf-Fassbaender, Karl Schmitt-Walter, and Gerhard Hüsch, playing examples of each singing the aria of Di Luna from Verdi's Der Troubadour, each sung in German translation. But it is first and foremost the unique legacy of Rehkemper's art song recordings that concerns me here, and I discuss what makes his work so important, and what today's singers can learn through close study of his recordings. My dear friends, just because the name of today's baritone might not be familiar to you, Gavin and I both implore you not to hesitate in partaking of the vocal and musical riches to be discovered in this episode! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

To jeden z najbardziej wstrząsających utworów w historii muzyki. Gustav Mahler, który od najmłodszych lat czuł lodowaty oddech śmierci na karku, sięgnął po kronikę przepracowywania żałoby – monumentalny zbiór ponad 500 pieśni na śmierć dzieci Friedricha Rückerta. Te wiersze nigdy nie miały zostać opublikowane. Rückert pisał dwa, trzy dziennie po tym, jak w straszliwych cierpieniach na szkarlatynę zmarła dwójka jego dzieci. Mahler stracił ukochanego brata – Ernesta. Zmarły syn Rückerta również nosił to imię. Ta zbieżność zafascynowała kompozytora, który wybrał pięć pieśni i na przestrzeni kilku lat skomponował cykl „Kindertotenlieder” – „Treny na śmierć dzieci”. Jak muzyką wyrazić ból? Jak opowiedzieć o bezpowrotnej stracie? Wydaje się, że Mahler wiedział to doskonale, jednak dopiero, gdy sam stracił dziecko, zrozumiał, że tego cierpienia opowiedzieć się nie da. Podcast powstał dzięki Mecenasom Szafy Melomana. Jeśli chcesz stać się jednym z nich i wspierać pierwszy polski podcast o muzyce klasycznej, odwiedź mój profil w serwisie Patronite.pl. Muzyka w odcinku: „Kindertotenlieder” (całość), wyk. Norman Foster (baryton), Orkiestra Symfoniczna z Bambergu, Jascha Horenstein (dyr.), VOX 1955 (nagranie na licencji Creative Commons 4.0) Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego.(odcinki w styczniu i lutym stanowią jeszcze realizację stypendium, w ramach którego byłem zobowiązany do nagrania 50 audycji)

Le court métrage de Virgil Vernier dure moins de 30 minutes, et il est bouleversant. À partir des archives (brutes) du journal télévisé de TF1, Virgil revient sur l'embrasement de l'automne 2005 survenu après la mort, dans un transfo EDF, de Zyed Benna et Bouna Traoré, poursuivis par la police à Clichy-sous-Bois, Seine-Saint-Denis.

There is a thread of musical theory called Schenkerian analysis, based on the work of Heinrich Schenker.  Schenker believed that musical works could be boiled down to their fundamental structures and harmonies.  Entire works could be described with single chords.  If Schenker had applied his analysis to Mahler's 5th symphony, he might have played just two chords for you: a C# minor chord, and then a D Major chord.  The reason why?  Over the course of 70 minutes, Mahler takes the listener on a wild journey, starting in C# minor with a lonely military trumpet, and then ending in a glorious D Major coda that might be the most unambiguously sunny thing Mahler ever wrote: But of course, how we get there is the most fascinating part of this monumental symphony.  Today, on Part I, I'm going to take you through Part I of the symphony, which encompasses the first two movements.  Next week, we'll take a look at Parts 2 and 3 together, which take up the final three movements of the piece.  Part I of the piece represents both a shift in Mahler's music, and a nostalgic remembrance.  As always with Mahler, there are multiple meanings to every phrase.  The opening of the symphony, which sounds so unusual, is itself based on a seemingly random moment of the 4th symphony.  The funeral march that dominates the first movement is based at least partly on a piece he was writing at the same time, the Kindertotenlieder, or Songs on the Death of Children.  And the second movement, one of the most unusual and complicated movements Mahler had ever written up to this point, quotes a motive from Schubert's Death and the Maiden string quartet.  Clearly, death, a specter that always haunted Mahler, is alive and well in Part 1 of the symphony.  The first two movements of the symphony might be a perfect distillation of Mahler; they are passionate, wild, intense, but also tightly scored, precisely structured, and full of that constant push and pull between the past, the present, and the modern, that makes Mahler's music both a product of its time, but also music that is always relevant to us. Join us!

1908 läuft es nicht gut für den Komponisten: Seine Ehe ist kaputt. Er trauert über den Tod seiner Tochter. Und in Prag wird er als provinziell belächelt. Die kurzen Stücke für Klavier oder Harmonium sind sein intimes Tagebuch. (Autor: Michael Lohse)

durée : 01:58:36 - Relax ! du jeudi 21 octobre 2021 - par : Lionel Esparza - Un Relax autour des grandes œuvres de l'année 1905 dont "Salomé", opéra de Richard Strauss, "La Mer" de Claude Debussy, "Pelléas et Mélisande" d'Arnold Schönberg ainsi que les "Kindertotenlieder" de Gustav Mahler. - réalisé par : Antoine Courtin

I continue my salute to Great Baritones with an examination of the recorded legacy of one of my favorite German baritones, the nearly-forgotten Heinrich Rehkemper (1894-1949) who left a small but important cache of discs, many of them devoted to the Lieder of Franz Schubert. He also made the first complete recording of Gustav Mahler's Kindertotenlieder. I place Rehkemper in the context of the other significant German baritones of his era, Heinrich Schlusnus, Willi Domgraf-Fassbaender, Karl Schmitt-Walter, and Gerhard Hüschand examine the specter of Nazism that hangs over all German artists from this period. But it is first and foremost the unique legacy of Rehkemper's art song recordings that concerns me here, and I discuss what makes his work so important, and what today's singers can learn through close study of his recordings. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody's core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody's core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

A listening guide of Kindertotenlieder – In diesem Wetter, In diesem Braus with Lew Smoley.

A listening guide of Kindertotenlieder – Oft denk' ich, sie sind nur ausgegangen with Lew Smoley.

A listening guide of Kindertotenlieder – Wenn dein Mütterlein with Lew Smoley.

A listening guide of Kindertotenlieder – Nun seh' ich wohl, warum so dunkle Flammen with Lew Smoley.

A listening guide of Kindertotenlieder – Nun will die Sonn' so hell aufgeh'n with Lew Smoley.

Kindertotenlieder (Songs on the Death of Children) is a song cycle for voice and orchestra by Gustav Mahler. The words of the songs are poems by Friedrich Ruckert (1788-1866).The original Kindertotenlieder were a group of 428 poems written by Rückert in 1833-1834 in an outpouring of grief following the illness (scarlet fever) and death of two of his children. Karen Painter describes the poems thus: “Rückert's 428 poems on the death of children became singular, almost manic documents of the psychological endeavor to cope with such loss. In ever new variations Rückert's poems attempt a poetic resuscitation of the children that is punctuated by anguished outbursts. But above all the poems show a quiet acquiescence to fate and to a peaceful world of solace.” These poems were not intended for publication, and they appeared in print only in 1871, five years after the poet's death.---A listening guide of Kindertotenlieder – Intro with Lew Smoley.

Kindertotenlieder (Songs on the Death of Children) is a song cycle (1904) for voice and orchestra by Gustav Mahler. The words of the songs are poems by Friedrich Rückert. Natalie Schoenberg, Mezzo-Soprano Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p538/Mahler%3A_Kindertotenlieder.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

À l’occasion de son exposition au Studio, Estelle Hanania invite le musicien et compositeur américain Stephen O’Malley à réaliser un programme radiophonique conçu spécialement pour la MEP, à partir des bandes son qu’il a conçues pour les pièces chorégraphiques de Giselle Vienne. Estelle Hanania et Stephen O’Malley poursuivent ainsi une collaboration de plusieurs années, qui a notamment donné lieu à la sortie du vinyle Eternelle Idole en 2015 et du vinyle The Pyre en 2019 aux éditions Shelter Press. Stephen O’Malley est un guitariste, producteur, compositeur et artiste visuel né en 1974 dans le New Hampshire (Etats-Unis). Il a participé depuis 20 ans à la fondation de nombreux groupes incontournables de drone doom, metal, musique expérimentale – SUNN O))), KTL, and Khanate comptent parmi les plus emblématiques. Particulièrement prolifique, l’oeuvre de  Stephen  O’Malley se caractérise par son ampleur, sa complexité, son approche expérimentale et minimaliste, son interdisciplinarité. Il collabore avec des artistes de tous horizons tels que le musicien et compositeur Scott Walker, la chorégraphe et metteuse en scène Gisèle Vienne, les auteurs Dennis Cooper et Alan Moore, le compositeur Alvin Lucier, le sculpteur Fujiko Nakaya, le cinéaste Jim Jarmusch, et avec les instituts de musique électronique IRCAM, INA-GRM (Paris), EMS (Stockholm). Artiste de scène incontesté, il ne cesse d’effectuer des tournées depuis 2003. Ses concerts en live sont une brume de réverbération née du minimalisme d’une guitare électrique, une sorcellerie sonore qui défie les frontières de l’espace et du temps. Programme radiophonique réalisé par Stephen O’Malley pour l’exposition « It’s alive ! » d’Estelle Hanania à la MEP. Sélection de bandes sons des pièces chorégraphiques de Giselle Vienne qui ont été photographiées par Estelle Hanania. Durée : 2h43min45s Titres des morceaux : Sexy Angel / This is how you will Disappear 2010 Glass X / The Pyre 2013 Hit / The Pyre 2013 Eternal Idol / Arrival of The Trainer / Eternelle Idole 2009 Lampshade / Crowd 2017 Last Spring / Last Spring: A Prequel 2011 Forest Floor 3, 4 / Kindertotenlieder 2007 Snow #4 / Kindertotenlieder 2007 Snow M+R / Kindertotenlieder 2007 Theme #2 / Kindertotenlieder 2007

durée : 01:58:13 - Relax ! du vendredi 09 octobre 2020 - par : Lionel Esparza - Nous fêtons le 185ème anniversaire de la naissance de Camille Saint-Saëns, avec quelques-unes de ses œuvres les plus célèbres. On écoute aussi les deux derniers disques de Christophe Rousset, et à 16h, on fait place à une légende absolue : les "Kindertotenlieder" de Mahler, par Kathleen Ferrier... - réalisé par : Antoine Courtin

durée : 00:18:06 - Disques de légende du vendredi 09 octobre 2020 - L'un des disques les plus bouleversants du monde ! La contralto anglaise Kathleen Ferrier enregistre en 1949 les "Kindertotenlieder" de Gustav Mahler, avec le chef d'orchestre Bruno Walter et l'Orchestre philharmonique de Vienne.

Michael Lohse über Janáčeks bewegenden Klavierzyklus. 1908 läuft es nicht gut für den Komponisten: Seine Ehe ist kaputt, er trauert über den Tod seiner Tochter. Und in der Prager Musikwelt wird er als provinziell belächelt. Die kurzen Stücke für Klavier oder Harmonium sind sein intimes Tagebuch.

Kelley sang the role of Federico Lorca in the original version of Osvaldo Golijov’s opera Ainadamar.Kelley earned her Bachelor of Music degree from Thornton School of Music at the University of Southern California and her master's degree in Music from the University of California, Los Angeles.John Adams is an American composer, clarinetist, and conductor of classical music and opera, with strong roots in minimalism.Suzuki is a character in the opera Madame Butterfly, an opera in three acts (originally two) by Giacomo Puccini.Roberto De Candia is an Italian operatic baritone.Maria Luigia Borsi is an Italian opera singer.Hadleigh Adams is an operatic baritone from Palmerston North, New Zealand. Hadleigh recently played Mercutio in Cincinnati Opera’s performance of Charles Gounod’s Romeo and Juliet.Die Fledermaus is an operetta composed by Johann Strauss II.A breeches role (also pants role or trouser role) is a role in which an actress appears in male clothing.Tanglewood is a music venue in the towns of Lenox and Stockbridge in the Berkshire Hills of western Massachusetts.The Cleveland Orchestra, based in Cleveland, is one of the five American orchestras informally referred to as the "Big Five".Requiem Canticles is a 15-minute composition by Igor Stravinsky, for contralto and bass soli, chorus, and orchestra.Cherubino is a character in The Marriage of Figaro, an opera buffa (comic opera composed by Wolfgang Amadeus Mozart."The Composer" is a character in Richard Strauss's opera Ariadne auf Naxos.Das Lied von der Erde ("The Song of the Earth") is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler.Cecilia Bartoli is an Italian coloratura mezzo-soprano opera singer and recitalist.“Voi Che Sapete” is an aria from The Marriage of Figaro.Renée Fleming is an American soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.Robert Spano is an American conductor and pianist.The Gospel According to the Other Mary is an opera/oratorio by John Adams.Peter Sellars is an American theatre director, noted for his unique contemporary staging of classical and contemporary operas and plays.El Niño is an opera-oratorio by John Adams.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.El Salón México is a symphonic composition in one movement by Aaron Copland, which uses Mexican folk music extensively.Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four German-language epic music dramas composed by Richard Wagner.Kelley grew up in Clovis, California.Audra McDonald is an American actress and singer. Primarily known for her work on the Broadway stage, she has won six Tony Awards, more performance wins than any other actor, and is the only person to win all four acting categories. McDonald was raised in Fresno, California.La Cenerentola is an operatic dramma giocoso by Gioachino Rossini.The Turn of the Screw is a 20th-century English chamber opera composed by Benjamin Britten.Claude Debussy was a French composer.Phyllis Curtin was an American classical soprano who had an active career in operas and concerts from the early 1950s through the 1980s.Donald Runnicles is a Scottish conductor.Louis Langrée is the music director of the Cincinnati Symphony Orchestra.Evans mentions the following Mahler works: Symphony No. 2 (known as the Resurrection Symphony), Symphony No. 3, Symphony No.8, Rückert-Lieder, and Kindertotenlieder.The songs of Des Knaben Wunderhorn (The Boy’s Magic Horn) by Gustav Mahler are voice-and-piano and orchestral settings of German folk poems chosen from a collection of the same name.The Rape of Lucretia is an opera by Benjamin Britten.Carnegie Hall is a concert venue in Midtown Manhattan in New York City.The Neruda Songs are a cycle of five songs composed for mezzo-soprano soloist and orchestra by the American composer Peter Lieberson for his wife, singer Lorraine Hunt Lieberson. Lieberson chose O'Connor as the first mezzo-soprano to sing his composition Neruda Songs live in concert after the death of his wife.Bernard Haitink is a Dutch conductor.The Atlanta Symphony Orchestra (ASO) is an American orchestra based in Atlanta, Georgia. Robert Spano has been its music director since 2001.Agustín Barrios was a Paraguayan virtuoso classical guitarist and composer, largely regarded as one of the greatest performers and most prolific composers for the guitar.Carmen is an opera by French composer Georges Bizet.The Dream of Gerontius is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman.Wesendonck Lieder is the common name of a set of five songs for female voice and piano Wagner, Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice).Hans Werner Henze was a German composer.Sea Pictures is a song cycle by Elgar consisting of five songs written by various poets.Jascha Heifetz was a Russian-American violinist.Kelley cites Dawn Upshaw, an American soprano, as her most important mentor.The Unbearable Lightness of Being is a 1984 novel by Milan Kundera, about two women, two men, a dog and their lives in the 1968 Prague Spring period of Czechoslovak history.Tidying Up with Marie Kondo is a reality television series developed for Netflix and released on January 1, 2019.Kelley mentions Here’s the Thing and Fresh Air as some of her favorite podcasts.Zero, aptly named for the amount of food you eat during a fast, is a simple tracker that helps users sync a fast with their biological clock.Spotify Technology S.A. is a Swedish media-services provider founded in 2006 with an app of the same name.Pandora is a music application.Metropol Restaurant & BarJessica Rivera is an American soprano of Peruvian-American ancestry.Kelley cites Nina Simone as one of her favorite musicians outside of classical music.

Janet Baker.

Kindertotenlieder de Mahler avec Fischer-Diskau, Kempe et le Berlinerphilharmoniker

Wie aktuell Gustav Mahlers "Kindertotenlieder" bis heute sind, wie sehr sie die Gefühle trauernder Eltern einfangen, zeigt ein Feature auf BR-KLASSIK, das den Preis der Deutschen KinderhospizSTIFTUNG gewonnen hat. Was diese Stiftung leistet, darüber hat sich Michael Atzinger mit dem Kuratoriumsvorsitzenden Daniel Fischer unterhalten.

'Kindertotenlieder' by Dennis Cooper read by Edwin Stevens. 'Kindertotenlieder' appears in the collection 'The Missing Men' published by Am Here Books/Immediate Editions in 1981. A full transcript of the book can be found at http://www.arras.net/fscIII/wp-content/uploads/2009/la_pdfs/cooper_missing_men.pdf More from Edwin Stevens can be found at https://twitter.com/irmavepmate

Als Leos Janáček 1908 seinen berühmten Klavierzyklus beendet, hat er keine gute Phase: Seine Ehe ist kaputt, er muss den Tod seiner geliebten Tochter verarbeiten. Und in der Prager Musikwelt belächelt man den Komponisten aus der Provinz. Seine innersten Gefühle vertraut Janáček dem Klavier an. Für Autor Michael Lohse ist "Auf verwachsenem Pfade" ein bewegendes autobiografische Bekenntnis.

Kindertotenlieder (Songs on the Death of Children) is a song cycle (1904) for voice and orchestra by Gustav Mahler. The words of the songs are poems by Friedrich Rückert. Natalie Schoenberg, Mezzo-Soprano Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orlean Purchase now at ClassicalRecordings.co

This week I promised to include the title of Winchester's records: Kindertotenlieder by Gustav Mahler. First up this week is Ses 11 Ep 13 - Friends and Enemies, wherein an old Army buddy of Col. Potter's ends up in the care of the 4077th when he tried to help out an infantry unit. Also, BJ, who is laid up with an ingrown toenail, tries to sew discord between Margaret and Charles. Next, in Ep 14, Give and Take, we watch as Charles pawns off Charity Collection Officer duty, only to end up with it literally falling back in his lap, while a GI in Post-Op is forced to come face to face with his preconceptions of the enemy.

Ein tragischeres Thema für einen Liederzyklus als den Tod eines Kindes gibt es wohl kaum. Mezzosopranistin Waltraud Meier findet allerdings auch philosophische Inspiration in der Gedankenwelt, mit der sie Musik und Text konfrontieren. Am 26. und 27. Januar 2017 pretiert sie Mahlers Kindertotenlieder gemeinsam mit dem Symphonieorchester des Bayerischen Rundfunks unter Mariss Jansons.

Mahler, Kindertotenlieder Soloist: Janet Baker Orchestra: Israeli Philharmonic Orchestra Conductor: Leonard Bernstein

"Rückert-Lieder", a song cycle of five Lieder for voice and orchestra or piano by Gustav Mahler, based on poems written by Friedrich Rückert. The five Lieder comprising the cycle are: 1. Blicke mir nicht in die Lieder! (Do not look at my songs!) 2. Ich atmet' einen linden Duft (I breathed a gentle fragrance) 3. Ich bin der Welt abhanden gekommen (I am lost to the world) 4. Um Mitternacht (At midnight) 5. Liebst du um Schönheit (If you love for beauty) The first four songs were premiered on 29 January 1905 in Vienna, Mahler conducting himself, together with his Kindertotenlieder (also on poems by Rückert). The last song, Liebst du um Schönheit, was not orchestrated by Mahler himself but by Max Puttmann, an employee of the first publisher. The set of songs is not a cycle in the narrowest sense, because the Lieder are independent, connected only by the poetry and common themes. However, they were published together and most often have been performed together and come to be known as the Rückert-Lieder, although Mahler did set more texts of Rückert. Thomas Hampson Leonard Bernstein & Wiener Philharmoniker

con Francesco Antonioni

The remarkable Christa Ludwig selections from: Cenerentola (1959) from Vienna, under Alberto Erede Lohengrin (1967) with Ingrid Bjoener,Walter Berry, under Karl Boehm Don Carlo (1967)  under Berislav Klobucar Aida (1970) with Richard Tucker, under Fausto Cleva Mahler's Kindertotenlieder (1967) under Loren Maazel                                (73 min.)

Listening Guide The Work Key: D minor (with occasional hints of B-flat and A major), ending in D major. Tempo: Mit ruhelos schmerzvollem Ausdruck (With a restless, painful expression). Time Signature: 4/4 Form: free strophic form with a prelude and postlude, each verse being separated by an interlude of varying length. The last verse is […]

Listening Guide The Work Key: E-flat major (with each verse beginning in the minor), modulating to G-flat during each verse. Tempo: Ruhig bewegt, ohne zu eilen (calmly restless, without hurrying) Time Signature: 2/2 (with a few bars of 3/2) Form: ABABAB Oft denk’ ich, sie sind nur ausgegangen! Bald werden sie wieder nach hause gelangen! […]

Listening Guide The Work Key: C minor (modulating to G minor). Tempo: Schwer, dumpf (Weighty, muffled) Time Signature: 4/4 alternating with 3/2. Form: ABAB. Wenn dein Mütterlien tritt zur Tür herein, und den Kopf ich drehe, ihr entgegen sehe, fällt auf ihr Gesicht erst der Blick mir nicht, sondern auf die Stellen, dort, wo würde […]

Listening Guide The Work Key: C minor (original piano version in C-sharp minor) with several modulations to C major, D major, G minor and B-flat major. Tempo: Ruhig, nicht schleppend (Restful, do not drag) Time Signature: 4/4 (with a few measures of 3/2 and 2/4) Form: ABCB (with a brief introduction and coda) Nun seh’ […]

Listening Guide The Work Key: D minor/major with various modulations. Tempo: Langsam und schwermütig; nicht schleppend (Slow and melancholy; do not drag) Time signature: 4/4 Form: AABA based upon the four verses of the poem. Nun will die Sonn’ so hell aufgeh’n Als sei kein Unglück die Nacht gescheh’n. Das Unglück geschah nur mir allein. […]

Listening Guide The Work 5 Songs on Poems by Friedrich Rückert Dates of composition: The first, third and fourth songs were written during the summer of 1901; the second and fifth were added in June, 1904. Pub. (C.F. Kahnt 1905). Place of composition: Maiernigg Type of composition: 5 Songs in versions with piano and orchestral accompaniment. A […]

Kindertotenlieder, ein Liederzyklus nach Gedichten von Friedrich Rückert

A tribute to the great mezzo Rita Gorr. Selections from: Orfeo(in photo), Aida, Troyens, Walkure, Tristan und Isolde,Samson et Delilah, Mahler's Kindertotenlieder.                                   (77 minutes)